REVIEWS

/ BARBARA CASAVECCHIA
Andreas Angelidakis, Demos Bar, 2018.
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Barbara Casavecchia

The press schedule for the opening days of the Biennale de l’Image en Mouvement (BIM) included a special visit to CERN’s “Antimatter Factory.” Our guide was a cheerful Chinese-American engineer who laughed at my astonishment when he explained that our knowledge of the universe—stars, planets, galaxies—amounts to its visible 4... continue reading
Manifesta 12

MANIFESTA 12, Palermo

Rotor, Da quassù è tutta un’altra cosa [From up here, everything looks different], 2018.
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Barbara Casavecchia

In 2001, Maurizio Cattelan invited a group of the 49th Venice Biennale’s VIP guests to join a satellite event in Palermo: a cocktail reception in Bellolampo, the city’s main landfill, where the artist had installed a larger-than-life replica of the Hollywood Sign overlooking the Conca d’Oro, the defaced coastal “golden... continue reading
Delia Gonzalez, The Osiris Gate I & II, 2017.
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Barbara Casavecchia

I had forgotten about The Day After until the North Korea/US missile crisis brought it back to mind with a bang. Aired in November 1983, the American TV movie terrified over 100 million viewers with its graphic images of a nuclear conflict between the US and the Soviet Union, leading... continue reading
Jérôme Bel, Compagnia, compagnia, 2017.
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Barbara Casavecchia

The new extension of Centro Pecci (designed by NIO Architecten Rotterdam, and inaugurated last fall) is a ring-shaped volume clad in golden aluminum, halfway between a UFO from a 1950s B-movie and the corporate headquarters of a German car brand, surrounded by an urban sprawl of office blocks, residential buildings,... continue reading
57th Venice Biennale “Viva Arte Viva”

57TH VENICE BIENNALE, Venice

View of Charles Atlas, The Tyranny of Consciousness, 2017.
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Barbara Casavecchia

“Viva Arte Viva” is a tautological title. Since a tautological statement is one that is necessarily true on the basis of its circular syntactical structure, it’s logical to assume that Christine Macel, the curator of the 57th Venice Biennale, is asking us to believe that art is alive, and/or that... continue reading
Will Benedict’s “The Social Democrat” and “Fiction Is a Terrible Enemy”

GIó MARCONI AND FONDAZIONE GIULIANI, Milan and Rome

View of Will Benedict’s “The Social Democrat,” Giò Marconi, Milan, 2017.
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Barbara Casavecchia

It was only a couple of days after the opening, while sitting in the audience of a lecture by Italian playwright Romeo Castellucci at Teatro dell’Arte in Milan, that Will Benedict’s “The Social Democrat” at Giò Marconi really clicked in my head. Call it synchronicity. Castellucci delivered his speech, titled... continue reading

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